WhatRead more an utterly delightful CD this is! From start to finish light, bright, engaging, and completely immersed in Poulenc’s unusual sound world. Holger Falk, a name unknown to me, is an extraordinarily light, high baritone, a true bariton-matin, a voice classification virtually nonexistent among German singers—but here he is, with an upper range so free and extensive, both in full voice and voix mixte, that much of the time he sounds like a tenor. It is also a unique voice; though it has a definite German lyric-baritone sound, there is no one else he reminds me of. The voice has a velvet sheen that is wholly unique. And what an artist he is, much more subtle in a lyrical sort of way than declamatory as so many of his brethren tend to be. I found his interpretations of the famed Le Bestiaire a trifle more restrained than Thomas Allen’s outstanding recording of them (CRD 3437, the orchestrated version with the Nash Ensemble), yet comparing Falk to Allen—as well as to Pierre Bernac, in the original 1945 recording with Poulenc on piano—reveals not only that he is able to hold his own as an interpreter, but that his voice sounds much more tenorish than either of those esteemed singers. Falk’s extensive high range sounds like an arched extension of his lower tones, rather than an add-on as in the case of Bernac, whose voice—after not having heard it in some years—suddenly strikes me as somewhat Russian in quality, particularly the low range.

In addition to being an outstanding song interpreter, then, Falk has a voice I could listen to all day without fatigue. His range, arched phrasing, sensitive dynamic shading, and ability to color his tones all mark him as an artist of outstanding sensibility. I should also point out that Alessandro Zuppardo, though in a supporting role, is equally sensitive and highly musical, capable of give-and-take with his singer to a degree rare among duos who are not permanent concert partners, but since he has had extensive experience accompanying singers (among them Renato Bruson, Mariella Devia, Fabio Armiliato, Cecilia Bartoli, and Vincenzo La Scola) this comes as less of a surprise. This is a disc you’ll play over and over and over again, if you enjoy Poulenc’s songs or modern French song in general. MDG’s outstanding sound quality—rich, round, with just the right amount of natural reverberance—lends an extra patina of quality to this release. Bravo, Falk and Zuppardo! I hope to hear much more of you in the years to come.

Customer Reviews

Average Customer Review: ( 1 Customer Review )

Excellent Poulenc for the 21st CenturyNovember 27, 2012By Nicholas D. (TARRYTOWN, NY)See All My Reviews"The term is actually "baryton-martin," named after [Nicolas] Jean-Blaise Martin (1768-1837). And yes, although billed as a baritone, on this CD at least Holger Falk often sounds like a tenor with a solid lower extension rather than a baritone with a good upper one. No matter: he has a beautiful voice and uses it beautifully, with very well-schooled French, particularly in the many lyrical songs, for me the highlight of the disc. Other singers have captured the ironic and dramatic facets of some of these gems more vividly, yet Falk is always willing to harden or color his voice as required. He and the excellent pianist find their own way into Poulenc and Apollinaire's world, never in a wayward or contrarian fashion but with a degree of freshness remarkable in such familar repertoire. This CD comes with the enthusiastic imprimatur of pianist Dalton Baldwin (who knows a thing or two about interpreting Poulenc's songs); MDG promises two more discs, completing a survey of Poulenc's baritone-appropriate songs. An unexpected pleasure and a fine recital."Report Abuse

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